About Star Nayea
 |
| |
 |
| |
 |
| |
 |
| Star Nayea |
SANTA FE, N.M. – If music serves as a form of emotional redemption for the soul,
then Star Nayea fits that niche due to her passion for singing, songwriting and stark
honesty. She released her sixth album, titled “Silenced My Tongue,” in April.
But this rock and blues singer is anything but silent when it comes to paving her own
trail as a Native artist. For listeners looking for the background harmonies of flute,
rattles, drums or Native chants, this album will disappoint you.
Those looking for a soulful and powerful voice by an artist who happens to be Native
are in for a satisfying audio journey that tells the story of Nayea’s troubled childhood.
The all-acoustic album rips straight to the emotional core with the song “Homeland.”
Nayea begs to know, “Why did you let them take me?”
Her feelings of abandonment are valid and heartfelt. As an infant, Nayea was taken
from her home and placed with a dysfunctional and abusive non-Native family. She
grew up in Detroit and, despite her misfortune, grew up with the influence of Motown
and the burgeoning rock ’n’ roll scene in her hometown. These influences helped
her sing her way out of the pain.
“I used music as an outlet to release myself, to purge,” she said. “It was my survival
tool.”
Nayea said her search for her biological parents reached a stalemate when she
discovered that her birth certificate was a forgery and the agency that placed her kept
no records of her birth parents. All she knows is that she is Native, and her family
likely comes from a tribe somewhere in the northern United States, or possibly
Canada. She lives the “needle in the haystack” idiom: “I am still searching.”
Unfortunately, she was not the only infant stolen from her mystery birthplace. Prior to
the Indian Child Welfare Act of 1978, countless Native children were removed from
their families through shady adoption practices, and often placed with non-Native
families.
The cover song, “Silenced My Tongue,” outlines her life story and samplings of the
entire album are available from CD Baby on Nayea’s MySpace page.
To pass on her love and passion for music, about seven years ago she started the
Healing Power of Music program for children and teens. Since its inception, she has
traveled to schools in and outside of New Mexico, conducting her workshop.
During the workshop, she finds out the type of music that moves the youth. From
there, she encourages students to tap their ability to write verses, and even get on
stage and perform. The program’s goals are to educate students about the music
they listen to and provide a creative outlet that will help to keep them from giving into
peer pressures.
“Kids turn into the music that they listen to,” she said. “There is a huge need for
mentorship.”
Prior to going solo in 2000, Nayea collaborated with an array of both Native and non-
Native artists. For two years, she sang backup for flutist and New Mexico Native
Robert Mirabal. She also performed with Robbie Robertson, Keith Secola, the Native
rock band Indigenous, and a long list of mainstream artists. She even had the
opportunity to perform in the Broadway play “TRIBE” when she lived in New York.
Nayea said it was all of her experiences that have helped shape her into the artist
that she is today. She has turned down record deals that she felt would compromise
her own style by the addition of Native drums, rattles and flute to the background.
Over the years, she has allowed minimal traditional elements, but only when it feels
right for her, not a record label. In fact, she is still unsigned to this day.
“I don’t walk this Earth to conform to who they want me to be; I walk this Earth to
conform to who I want me to be.”
By sticking with what works best for her, Nayea has garnered noteworthy accolades.
She was recognized as a 2006 GRAMMY recipient for the contribution of her song
“Mountain Song” to the album “Sacred Ground.” The album features various Native
artists and was produced by Silver Wave Records. Back in 2001, she clenched a
NAMMY for Best Independent Recording.
Even with a stellar resume, Nayea said that she has experienced challenges getting
booked at New Mexico venues. Despite that challenge, she has garnered booking
from all across the United States and Canada.
About two years ago, she helped to form Little Big Band with Tlingit glass blower
Preston Singletary. She met Singletary at the Santa Fe Indian Market more than a
decade ago. He tried many times to convince her that he was a serious bass player
before she heard him play. “I would just giggle and say, OK, but he is a great funk
bass player.”
In fact, her future plans include moving to the Northwest within the next two years to
pursue some goals that she has made with the band. Meanwhile, Nayea and her 11-
year-old son, Tahee, embrace the mystical landscape of New Mexico. She has lived
in Santa Fe for 12 years. “This is the most beautiful and sacred land.”
By Babette Herrmann
Story Published: Aug 18, 2008 , updated Sep. 10, 2008 in Indian Country Today
then Star Nayea fits that niche due to her passion for singing, songwriting and stark
honesty. She released her sixth album, titled “Silenced My Tongue,” in April.
But this rock and blues singer is anything but silent when it comes to paving her own
trail as a Native artist. For listeners looking for the background harmonies of flute,
rattles, drums or Native chants, this album will disappoint you.
Those looking for a soulful and powerful voice by an artist who happens to be Native
are in for a satisfying audio journey that tells the story of Nayea’s troubled childhood.
The all-acoustic album rips straight to the emotional core with the song “Homeland.”
Nayea begs to know, “Why did you let them take me?”
Her feelings of abandonment are valid and heartfelt. As an infant, Nayea was taken
from her home and placed with a dysfunctional and abusive non-Native family. She
grew up in Detroit and, despite her misfortune, grew up with the influence of Motown
and the burgeoning rock ’n’ roll scene in her hometown. These influences helped
her sing her way out of the pain.
“I used music as an outlet to release myself, to purge,” she said. “It was my survival
tool.”
Nayea said her search for her biological parents reached a stalemate when she
discovered that her birth certificate was a forgery and the agency that placed her kept
no records of her birth parents. All she knows is that she is Native, and her family
likely comes from a tribe somewhere in the northern United States, or possibly
Canada. She lives the “needle in the haystack” idiom: “I am still searching.”
Unfortunately, she was not the only infant stolen from her mystery birthplace. Prior to
the Indian Child Welfare Act of 1978, countless Native children were removed from
their families through shady adoption practices, and often placed with non-Native
families.
The cover song, “Silenced My Tongue,” outlines her life story and samplings of the
entire album are available from CD Baby on Nayea’s MySpace page.
To pass on her love and passion for music, about seven years ago she started the
Healing Power of Music program for children and teens. Since its inception, she has
traveled to schools in and outside of New Mexico, conducting her workshop.
During the workshop, she finds out the type of music that moves the youth. From
there, she encourages students to tap their ability to write verses, and even get on
stage and perform. The program’s goals are to educate students about the music
they listen to and provide a creative outlet that will help to keep them from giving into
peer pressures.
“Kids turn into the music that they listen to,” she said. “There is a huge need for
mentorship.”
Prior to going solo in 2000, Nayea collaborated with an array of both Native and non-
Native artists. For two years, she sang backup for flutist and New Mexico Native
Robert Mirabal. She also performed with Robbie Robertson, Keith Secola, the Native
rock band Indigenous, and a long list of mainstream artists. She even had the
opportunity to perform in the Broadway play “TRIBE” when she lived in New York.
Nayea said it was all of her experiences that have helped shape her into the artist
that she is today. She has turned down record deals that she felt would compromise
her own style by the addition of Native drums, rattles and flute to the background.
Over the years, she has allowed minimal traditional elements, but only when it feels
right for her, not a record label. In fact, she is still unsigned to this day.
“I don’t walk this Earth to conform to who they want me to be; I walk this Earth to
conform to who I want me to be.”
By sticking with what works best for her, Nayea has garnered noteworthy accolades.
She was recognized as a 2006 GRAMMY recipient for the contribution of her song
“Mountain Song” to the album “Sacred Ground.” The album features various Native
artists and was produced by Silver Wave Records. Back in 2001, she clenched a
NAMMY for Best Independent Recording.
Even with a stellar resume, Nayea said that she has experienced challenges getting
booked at New Mexico venues. Despite that challenge, she has garnered booking
from all across the United States and Canada.
About two years ago, she helped to form Little Big Band with Tlingit glass blower
Preston Singletary. She met Singletary at the Santa Fe Indian Market more than a
decade ago. He tried many times to convince her that he was a serious bass player
before she heard him play. “I would just giggle and say, OK, but he is a great funk
bass player.”
In fact, her future plans include moving to the Northwest within the next two years to
pursue some goals that she has made with the band. Meanwhile, Nayea and her 11-
year-old son, Tahee, embrace the mystical landscape of New Mexico. She has lived
in Santa Fe for 12 years. “This is the most beautiful and sacred land.”
By Babette Herrmann
Story Published: Aug 18, 2008 , updated Sep. 10, 2008 in Indian Country Today
© 2008 Star-Nayea. All Rights Reserved
